Kiwi

Danelectro FAB Tone. It's a guitar pedal but it has one of the rawest, hottest, tightest distortions for bass I've ever heard. No muddiness at all.

Mostly wood plus bridge single coil pickup. The bass is almost entirely made from mahogany and I believe the fingerboard is some kind of composite or resin unless that's one of the originals, in which case it'll be rosewood. The single coil pickup adds some focus.

https://www.ebay.com/itm/301864544359 Fender have been offering the chrome on brass scratchplate for quite some time.

I deleted my post as I hadn't read earlier comments. Sorry.

We still do, mainly because they were fantastic value

Thanks guys, I have a couple of fEARless F112 cabs that do the trick and am pretty happy with them so far although they're not as light as the Barefaced equivalents.

I've not owned one but I've played through a couple. The light weight is a revelation. I'm not convinced on the cabs being transparent tonally, I can hear differences in the high end but Alex definitely maximises efficiency and the tonal differences between BF cabs and alternatives are not going to add up to much in the on stage mix. I don't own one because Alex has never been keen on tilt back cabs. I like tilt back because it helps to avoid most of my monitoring blasting past my knees.

I'm thinking something similar. By the time everything's set up and trouble shot, I've lost the inspiration. Tascam digital workstations are interesting me atm too but a drum box that can play slightly ahead and behind the best would be great.

How about this?

Prince was phenomenally versatile. I am a huge fan of his improvised live jams. His guitar didn't really inspire me though. Alan Murphy on the other hand...

Unfortunately, there's no setting for the number of TLRT's in the forum software. There's nothing I can do at the moment to change it, I'm sorry.

I remember playing one of those back in the 80's in a local music shop. I'd never seen one before and, not being a fan of Westone at all as an owner, I was very impressed with how it sounded and played. It made me question even more the POS Westone I had at the time.

Well we're all going to hold our own opinions but when that boy was in the pocket live, he was letting it all hang out. In the studio he seems a little more reserved. Speaking of balancing restraint vs expression. This guy is chill but his fingers are doing the talking.

Still his finest moment, all that theory training is being put to work.

I haven't checked previous posts for a mention but Reverb are offering free samples and loops to download. https://reverb.com/c/software

Let's not forget the magnificent stylings of Tommy Seebach. A man whose desperation for musical immortality via the Eurovision Song Contest was only just eclipsed by his desperate and premature demise at the age of 53.

I approached Alex about tilt back cabs back when he was starting out and he didn't see them as something he wanted to do. So fEARless were the best option available. A Mesa Bass 400+ was the best valve head I've ever owned. But it doesn't do overdrive. That's a more modern thing.

I think I met him at a Bass Bash once, long ago.

Yeah Sharay is an absolute gospel improv monster thanks to his theory training. But he plays a lot of bland, easy listening, worship stuff and it kind of squashes his buzz a bit.

All cabs have some form of colouring. There was a comparison of 1x12 cabs at the SE Bass Bash in 2015 and the BB2 showed some colouring in the higher frequencies, to my ears, perhaps not due to the design as much as the tweeter. But there were others that were more coloured and remained surprisingly popular amongst attendees. Some colouring can also help with monitoring in a crowded on stage mix. My fEARless F112 cabs are more like PA cabs but they're not as light as a BB2. Maybe they're a little too sweet for live use. I run them each with a GB shuttle 6

It is! I also spotted it last week while reviewing the video. Very unusual to see one played live!!

Phenomenal playing from both, metronome precision yet they groove brutally. No wonder Quincy used LJ in the studio so often.

I think you could do better...

I'm a bit late to this thread but my first reactions were astonishment at the work to the electronics and pickups. And admiration of both how broad your skills are and the standard of quality in the outcomes. It's a bit like watching Jaco for the first time, makes me want to hang up my router... Two thoughts though: 1) For neck reinforcement, it's generally best to rely on a stiff fingerboard for rigidity in the first instance and use softer wood in the neck laminations to create timbre. I know carbon reinforcement is all the rage and there's nothing inherently wrong with it but to retain some warmth from the instrument, softer woods also play a part - something like figured maple or lightweight mahogany, as well as the denser ones like rock maple and purple heart. The trick is getting the recipe to taste and that, arguably, can take some trial and error. 2) Filter sweeping: I know you are going to play about with things a bit and I think your sweep range is probably where I'd aim for a first time as well. Around 1.2Khz is where a lot of fret noise is, although you could dampen that with part of the pickup design or put a notch filter in the preamp response. Around 250Hz gives a nice punch for the back pickup although some find that a narrow boost around 600Hz adds more stingray-ish snarl in the string attack but it really depends on what you have to work with in terms of timbre.

Yes, the only one not to appear was Holly Johnson. They got back together for this appearance after a Bands Reunited episode.